Krishna Steals the Parijata Tree
| Support Type: | Paper |
| Paint Type: | Watercolor |
| Current Location: | Private Collection / Art Market (Exhibited via Nancy Wiener Gallery Inc.) |
| Location History: | Created in Kangra or Guler, Pahari region, Northern India (circa 1800–1825); held within private collection / Asian art dealers (Nancy Wiener Gallery) |
This is a well known episode from the Harivamsa (the genealogy of Hari/Krishna, the appendix to the Mahabharata). Satyabhama, one of Krishna's principal consorts, wanted the Parijata tree (the night-flowering jasmine) which only grew in Indra's garden in Swarga. Krishna having just come to the heavens after defeating Narakasura, was asked by Satyabhama to take the Parijata tree and plant it in her garden in Dwarka. Indra, upon learning of this, of course sent his army of devas to stop Krishna. The painting shows the negotiation, the conflict and the eventual resolution with Indra conceding the Parijata tree to Krishna. The painting is in the classic style of the Pahari school of painting from the Kangra or Guler workshops of the period under the master court painter Purkhu. Upper Right: Krishna and Satyabhama on their way back. Krishna is on his divine bird Garuda (a very large parrot-headed bird with golden feathers) who is carrying the uprooted Parijata tree, which is in full bloom with orange and red flowers. Upper Left and Centre: Indra is on his chariot with his army of devas and horsemen. The gods are in a council of sorts, all very softly drawn with the soft features, the flowing robes, the elegant crowns and the subtle halos. Foreground: The multi headed deities (including Lord Brahma with his four faces) and the various rishis (sages) are all gathered on mats in quiet contemplation and council by a river bank.The painting is a clear statement of Krishna's supremacy over the entire pantheon of the Vedic gods. He has defeated Indra's army and taken the Parijata tree. He has demonstrated that the divine is not bound by the rigid hierarchy of the gods. It is a very fine example of the Pahari miniatures of the early 19th century with the lush rolling hills, the soft pastel palette, the very graceful human figures and the very well composed arrangement of the figures.